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Grainger, Sheila, i n/a. "Accessing the Professional Artistry of Teaching". Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031114.084528.
Pełny tekst źródłaGrainger, Sheila. "Accessing the Professional Artistry of Teaching". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366178.
Pełny tekst źródłaThesis (Professional Doctorate)
Doctor of Education (EdD)
School of Cognition, Language and Special Education
Faculty of Education
Full Text
Loads, Daphne Jane. "Surprising spaces : artistry in university lecturers' professional development". Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551605.
Pełny tekst źródłaWellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
Pełny tekst źródłaDaoud, Janet Barbara. "Recognising and appreciating the artistry in professional practice : a means to researching and developing practice through insider practitioner research". Thesis, Bournemouth University, 2004. http://eprints.bournemouth.ac.uk/385/.
Pełny tekst źródłaKennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Pełny tekst źródłaKerch, Aline Louise. "O desenvolvimento dos "talentos artísticos profissionais" de estudantes de administração nas atividades de empresas juniores". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77749.
Pełny tekst źródłaTherefore, considering that, for Donald Schön (2000, p. 38), the “professional artistry” can only be developed in practice – when the student live “unspecified zones” – and that, in Brazil, the activities conducted within the Junior Enterprises are, for a lot students of Administration, one of the few opportunities where they can perform activities related to their professional practice, while still in academic formation, emerged the following research question: how students of Administration develop their “professionals artistry” within the framework of Junior Enterprises activities? To try to answer this question, been chosen the methodological procedures aimed at a qualitative approach, in exploratory level, where the semi-structured interview and its later analysis of the content were employed as a research technique and analysis procedure, respectively. The corpus found under field enabled us to understand that students of Administration to acquire and develop their “professionals artistry” while carrying out many activities in the Junior Enterprises, where the processes of knowing-in-action, reflection-in-action and reflection on the reflection-in-action happen. Although some criticisms that had been woven about JE's, it was concluded that these organizations constitute in a favorable place for students of Administration to acquire and to develop their “professionals artistry” and, as well, the “professional artistry” can only be developed through the experience of the professional practice which situations of uncertainties will enable the student to a performance focused on reflective practice.
Kerr, Cheryl. "Re-generating the praxis of academic staff development". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/40897/1/Cheryl_Kerr_Thesis.pdf.
Pełny tekst źródłaLetailleur, Erica. "La voie poétique de l'acteur et les mirages du théâtre professionnel : Étude de la formation des artistes du spectacle vivant du centre franco-turc Ayn Seyir (2006-2013)". Thesis, Nice, 2016. http://www.theses.fr/2016NICE2016/document.
Pełny tekst źródłaBy leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis
Gallay, Lillian Hemingway. "Understanding and Treating Creative Block in Professional Artists". Thesis, Alliant International University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567547.
Pełny tekst źródłaThis project provides a broad exploration of factors that can enhance or inhibit creative performance in professional artists, including writers, visual artists, and musicians. Potential causes of the difficulties creative clients contend with are surveyed, as well as a range of interventions to address them. The first section reviews six major factors that can impact artistic creativity (also called Big C or eminent creativity) both positively and negatively, including the relatively stable and enduring factors of artists’ personality traits, cognitive makeup, and psychopathology. This section also reviews more malleable elements of creativity that the therapist may be able to affect directly, namely, motivational orientation, mood, and environmental influences. The second section is an investigation of creative block: its antecedents, phenomenology, and proposed classifications of different types of block. The final section focuses on interventions to facilitate creative performance in artists, both those who are suffering from artist block and those who are seeking to boost their creative achievement more generally. Interventions reviewed include cognitive-behavioral, Gestalt, psychodynamic, meditative, and compassion-focused approaches. In addition, field interviews conducted with psychologists with expertise in the clinical treatment of professional artists are summarized. The project concludes with a discussion of possible reasons for the scarcity of empirical literature on the subject of creative block and potential avenues of exploration for future research.
Keywords: Arts, artists, musicians, writers, creativity, psychotherapy, self-compassion, perfectionism, self criticism.
Stevelt, Kelly A. "Professionalization of Studio Glass Artists". The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.
Pełny tekst źródłaAlves, Adriano Batista. "Teorias de carreira: um estudo sobre a jornada profissional do artista". Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/957.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
Many professions are benefiting from the labor studies and the delineation of their careers, they mostly focused on the organizational environment, which requires and fosters these studies for their own development. Even considering the other studies and authors who were instrumental in the study of careers, which are interdependent and converges in meaning and application, the career of an artist becomes the object of this dissertation on the ground does not fit a specific model of career but present with very particular characteristics that are inherent in this profession. The artist, regarded as professional driving career in a manner dissociated from the organizational management system, now in part because his work permit you, pray for her condition to a structure that depends on your creativity and other skills specific to the craft. The structuring of their work is shaped by the same demand, coupled with their skills and their sense of achievement, the latter an intangible component, but fundamental in developing as a professional, independent of the operating area in the arts. The journey of each artist points to a constant development of skills, the ability to adapt to uncertainty, the horizontal mobility of their careers and setting up networking, which conducts the survey for a multi-directional results. Trying to understand the structure of artists career, the study considers the main theories on the subject as a reference to research conducted with professionals from various fields of art, and drawing a parallel between the reality of these with already made careers studies. Also, in order not to limit the focus of careers, but to discuss the issue of positioning the artist in the twenty-first century, was associated with the issue of tangible and intangible value, it was possible to contextualize about the inviolability of the artwork and its place in quantifiable values of society. The survey was conducted with ten professional, who answered seven questions addressed to the interpretation of their careers, expectations, feelings about their careers and the profession, the way that works its image and visibility of their artistic production, as well the concepts for pricing and marketing of their works or services
Muitas das profissões são beneficiadas com os estudos do trabalho e pelo delineamento de suas carreiras, estes na maioria das vezes voltados para o ambiente organizacional, o qual necessita e favorece estes estudos para seu próprio desenvolvimento. Mesmo considerando os demais estudos e autores que foram determinantes para os estudos de carreiras, os quais são interdependentes e convergem em sentido e aplicação, a carreira de artista se torna o objeto desta dissertação pela razão de não se enquadrar em um modelo específico de carreira, mas se apresentar com características muito particulares que são inerentes à esta profissão. O artista, analisado como profissional, conduz sua carreira de maneira dissociada do sistema organizacional de gestão, ora em parte por seu trabalho lhe permitir, ora por lhe condicionar a uma estrutura que depende de sua criatividade e demais competências específicas do ofício. A estruturação de seu trabalho é moldada pela demanda do mesmo, associada de suas competências e seu sentimento de realização, este último um componente intangível, mas fundamental no desenvolvimento como profissional, independente da área de atuação no campo das artes. A jornada de cada artista aponta para um constante desenvolvimento de competências, a capacidade de se adaptar às incertezas, a mobilidade horizontal de suas carreiras e criação de networking, que conduz os resultados da pesquisa para um modelo multi-direcional. Procurando entender a estrutura da carreira de artistas, o estudo considera as principais teorias sobre o tema como referência para a pesquisa efetuada com profissionais de diversas áreas da arte, e traçar um paralelo entre a realidade destes com os estudos de carreiras já realizados. Também, de modo a não se limitar ao foco das carreiras, mas discorrer sobre a questão do posicionamento do artista no século XXI, foi associado a questão de valor material e imaterial; onde foi possível contextualizar sobre a intangibilidade do trabalho artístico e sua inserção na sociedade de valores quantificáveis. A pesquisa foi realizada com dez profissionais, os quais responderam sete questões dirigidas à interpretação de suas carreiras, expectativas, sentimentos em relação à suas carreiras e exercício da profissão, a forma em que trabalha sua imagem e visibilidade de sua produção artística, assim como lida com a precificação e comercialização de suas obras ou serviços
Wayte, Gillian Ruth. "Becoming an artist : the professional socialisation of students". Thesis, University of Bristol, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.330078.
Pełny tekst źródłaSloan, Kimberly Mae. "The teaching of non-professional artists in eighteenth century England". Thesis, Queen Mary, University of London, 1986. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1713.
Pełny tekst źródłaLindsey, Ilyse, Schelsey Mahammadie-Sabet i Nicole Rademacher. "Art-making and Wellbeing with Professional Artists During a Pandemic". Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/956.
Pełny tekst źródłaFernandes, Mariana Queiroz. "Um balanço sobre o Seminário Longitudes: a formação do artista contemporâneo no Brasil". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-01092016-190210/.
Pełny tekst źródłaThe gradual expansion of private cultural institutions created a hand demand for skilled labor for its various sectors. Emerged in the last 20 years throughout the country training courses and several graduate and post-graduate courses in visual arts as well reconfiguring a new panorama of what has been, in recent years, the formation of the artist (or visual) on the art circuit. The dissertation aims to discuss the position of the Brazilian contemporary artist by an analysis of the Longitudes seminar, held in São Paulo in March 2014. Three central themes guided the seminar configuration and its further analysis: the first dealt with the artist\'s identity; the second dealt with the expansion of the alternative space and the artist\'s scope of work; the third topic turned to the training sites and the proliferation of colleges and other courses to come meet the demand of the newly developed labor market. From the testimonies collected in the workshop, we will discuss the labor relations in the milieu and the professionalization of the contemporary artist in Brazil
La, Vertu Edmond G. "From a slave to a critical-thinker-artistic-writer: Emancipating a professional's anthill using action research professional practice with information systems professionals as the crux: Gnothe se auton non, j regrette rien die lichtung and all the world's a stage". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/617.
Pełny tekst źródłaFischer, Deborah Vier. "Escola, artistas e docentes em movimento : encontros entre arte contemporânea e educação". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108011.
Pełny tekst źródłaThis thesis has as an empirical study a certain private school in Porto Alegre, RS (School Project), which includes contemporary art into its curriculum as well as invites artists to build this partnership work. The bulk of this thesis is devoted to looking at what the moves that this way of thinking art instigate teachers and visual artists who venture to jointly live school and education, reasoning and wondering practices which are naturalized and accommodated by time and use. Thinking strangeness in teaching practices, instigated by contemporary art provocations, suggests an approach to the notion of discourse, having Michel Foucault as the main theoretical framework. Discourse that emerges from conversations and interviews with research subjects that are analyzed within the discursive field that these conversations involve, namely, art and education. Moves and discourses are subjects of interest to this research as they act in order to look at the practices taken as minimal or rough (basiquinhas), a term used by one of the research subjects, and contribute to think against of the grain of accommodation and generalization, as present in the way school has historically constituted. As this thesis discusses art and teaching, finding junction and conflict points between artistic and pedagogical doings, terms such as strictness, creation and participation are analyzed from these two standpoints. When looking at these junctions, focusing on the possibility of modification, creation and sharing exercises, gains strength the concept of artist teaching profession (docência artista), presented by Luciana Loponte, in relation to an artist teacher training (formação docente artista), a term born in this research which refers to an infected training, soaked and accompanied by close contact with contemporary art, able to review the most secure relationships on teaching and learning in the arts and beyond. Thus, more than seeking results or pointing solutions, this thesis aims at investing: in teaching, with its inquiries and strangeness; in school, with its ability to educate without consolation; in contemporary art, with its opening to cause disruptions and to destabilize the thought. It is, therefore, matches between teaching, school and contemporary art that this thesis develops, acquires intensity and power.
Butlin, Susan. "Making a living, Florence Carlyle and the negotiation of a professional artistic identity". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26892.pdf.
Pełny tekst źródłaButlin, Susan (Susan Barbara) Carleton University Dissertation Art History. "Making a living: Florence Carlyle and the negotiation of a professional artistic identity". Ottawa, 1995.
Znajdź pełny tekst źródłaArruda, Cármen Lúcia Rodrigues 1960. "Arte, trabalho e profissão docente : contradições nas relações de trabalho dos artistas na universidade pública". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279811.
Pełny tekst źródłaTese (doutorado profissional) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O objetivo deste estudo é analisar contradições observadas nas relações de trabalho de artistas docentes no ensino superior público. O recorte analítico privilegiou o Instituto de Artes da Universidade Estadual de Campinas, lócus da pesquisa. Três dimensões foram selecionadas: a contextualização histórica da criação da Unicamp e do Instituto de Artes, o processo de institucionalização da Arte no ensino superior e as relações de trabalho de artistas no contexto de uma instituição burocrática, organizada de forma racional e legal. Foram analisados dados históricos, documentais e estatísticos sobre a história da Unicamp, o ensino superior e as políticas públicas de cultura, além de entrevistas realizadas com professores do Instituto de Artes, cujo corpo docente é composto por professores que desempenham suas atividades sob duas formas distintas de carreira: a do Magistério Superior, em que é exigido no mínimo o título de doutor, da mesma forma que para todas as outras áreas da Universidade; a do Magistério Artístico, criada especialmente para manter, no corpo docente da Universidade, artistas com domínio do fazer artístico, o notório saber, mas sem qualificação formal em graduação e/ou em pós-graduação. A docência universitária é, atualmente, uma possibilidade crescente de assalariamento para o artista, frequentemente submetido a formas efêmeras e instáveis de trabalho, levando a uma tendência crescente na formação desse profissional em nível superior - graduação e pós-graduação - na área de Artes. A formação e o trabalho institucionalizados revelam, hoje, problemas e tensões antes inexistentes para a área, indicando que a universidade ainda não possui mecanismos eficientes para o reconhecimento da produção artística como produção acadêmica. A relevância deste estudo refere-se ao processo de institucionalização da arte, por meio da formação no ensino superior, uma dimensão historicamente recente
Abstract: The aim of this research is to analyse contradictions observed in the work relationships of artists teaching in public higher education. The analysis snapshot privileged the 'Arts Institute' from Universidade Estadual de Campinas, locus of the research. Three dimensions were selected: the historical context of the creation of Unicamp and the 'Arts Institute', the institutionalization process of Arts in Higher Education and the work relationships of artists within the context of a bureaucratic institution, organized rationally and legally. Historical, documental and statistical data about the history of Unicamp, higher education and culture public policies were analysed, besides interviews with teachers from the 'Arts Institute', where the teaching staff is composed of teachers who carry out their activities in two distinct career modes: Higher Education Teaching where at least a doctor's degree is required, as in all the other areas of the University, and Arts Teaching which was created especially to hire artists with notorious knowledge and a vast artistic production, but with no formal graduate and/or post-graduate qualifications. The university teaching is currently a growing possibility for the artists to have a fixed remuneration, as they are frequently submitted to ephemeral and unstable working modes, what leads to an increasing trend in the formation of this professional at higher level - graduate and post- graduate degrees - in Arts. The institutionalized formation and work reveal today problems and tensions that were inexistent earlier in the area, thus indicating that the university does not yet have the efficient mechanisms for the recognition of the artistic production as an academic production. The relevance of this study refers to the process of arts institutionalization through higher education formation, a historically recent dimension
Doutorado
Ciencias Sociais
Doutor em Ciências Sociais
Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /". Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
Pełny tekst źródłaHummel, Michael John. "Three american artists at midlife negotiating the space between amateur and professional status /". College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6776.
Pełny tekst źródłaThesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Bennett, Sophie. "A study of motivation and the satisficing approaches used by Professional Craft Artists". Thesis, Aberystwyth University, 2015. http://hdl.handle.net/2160/4482b7ba-8eed-410c-b006-1dbdafbe9341.
Pełny tekst źródłaWarren, Christopher S. "Professional pathways for the english provincial artist in the early nineteenth century". Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501543.
Pełny tekst źródłaWalter, Helen. "Artist, professional, gentleman : designing the body of the actor-manager, 1870-1900". Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1698/.
Pełny tekst źródłaSmith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England". Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.
Pełny tekst źródłaBridgstock, Ruth Sarah. "Success in the protean career : a predictive study of professional artists and tertiary arts graduates". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16575/1/Ruth_Bridgstock_Thesis.pdf.
Pełny tekst źródłaBridgstock, Ruth Sarah. "Success in the protean career : a predictive study of professional artists and tertiary arts graduates". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16575/.
Pełny tekst źródłaSweat, Ashley Dawn. "What is the nature of the professional practice of artist-teachers? four case studies /". unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11172005-212321/.
Pełny tekst źródłaTitle from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).
Sweat, Ashley Dawn. "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies". Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/3.
Pełny tekst źródłaSchmitt, Mary Donatelli. "Ohio Quilt Artists as Teachers". University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1124400161.
Pełny tekst źródłaMichael, Maureen K. "Precarious practices : artists, work and knowing-in-practice". Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.
Pełny tekst źródłaHeath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
Pełny tekst źródłaVieira, Ana Rita Sousa Gaspar. "Espaço, poder e vigilância-o quotidiano nas artes plásticas, anos 80-90 (de Richard Serra a Pedro Cabrita Reis)". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2002. http://dited.bn.pt:80/29954.
Pełny tekst źródłaMerello, Andrea Kathleen. "A case study of artists from the Kansas City Schools Experiment". Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6209.
Pełny tekst źródłaSmith, Lisa K. "Professional boundaries: Sharp objects and other injections of memoir and comedy". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98527/3/Lisa_Smith_Exegesis.pdf.
Pełny tekst źródłaČiškauskaitė, Živilė. "Baleto pedagogo kompetencijų raiška profesionalių baleto artistų ugdymo procese". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120801_105543-85413.
Pełny tekst źródłaExpression competencies of ballet teacher seeking to prepare a professional ballet artist are analyzed in this work. It is noticeable that, in the ballet, there is only a small part of ballet school graduates who are excellent teachers capable of conveying spiritual values through their dance and so giving meaning to dance as a piece of art. The main goal usually becomes the good knowledge of the expression means (dance technique in this case) forgetting about the importance of fostering individual’s artistic maturity that stimulates the perception of the whole of the art work, its content, comprehension and feeling of spiritual value system, owing to this, creation becomes art that influences and educates the viewer. A question that also raises the problem, if ballet teachers use their competencies in the way that students would have all conditions to create themselves as valuable specialists of their field- ballet artists- who are able to create art in the process of education gains the essential meaning. The object of the research is competence expression of the ballet artist. The aim of the research is to determine the peculiarities of ballet teacher’s competence expression in the process of ballet artist education. The objectives of the research: 1. to analyze teacher’s competencies in the context of modern education; 2. to determine the competencies of the ballet teacher; 3. to reveal competencies of the ballet artist; 4. to find out the specificity of professional... [to full text]
Salaméro, Emilie. "Devenir artiste de cirque aujourd'hui : espace des écoles et socialisation professionnelle". Toulouse 3, 2009. http://thesesups.ups-tlse.fr/659/5/Salamero_Emilie1.pdf.
Pełny tekst źródłaSince the 80s, in line with other artistic professions, training in circus artistry belongs to professional schools labeled by the State and no longer to the family circle of "traditional circus". Not only did the integration of circus within the Culture Ministry since 1979 and the application of policies geared to its development start the institutionalization and the "scholarizing" of the formation, but also the social legitimization of "contemporary circus". The present doctoral work studies the professional socialization of apprentices in circus artistry in French schools of various statuses, using several methods and analytical tools. Based on documentary research, interviews of about forty actors and observations in each school, the goal of thesis is to understand the interacting processes that contribute to the emergence of a structured and competing network of formation and to the professional socialization of circus artists in the schools. These processes are investigated in their particular contextual configuration and in the midst of the historical tensions that arose during the establishment of circus as a proper artistic subfield
Nascimento, Aline Barbosa. "Calçando as sandálias de professora/artista/pesquisadora: reflexões, diálogos e práticas narrativas". Universidade Federal do Maranhão, 2016. http://tedebc.ufma.br:8080/jspui/handle/tede/1471.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
This narrative and autobiographical nature research addresses the formative processes of a theater teacher / artist / researcher and her initiation into the practice of teaching. It describes the steps taken and the experiences accumulated over the life course, from basic education to vocational training, with an emphasis on the teaching practice in a public elementary school education in São Luís (MA). The memory taken up work led to the construction of a retrospective look at the rethinking of education, artistic practice and teaching, inspiring reflections on events, conditions and subjectivities leading up to and at the same time staked out an investigative process developed for the professional master's degree in Education of Arts. From the participant observation of a school theater group - Behind the scenes, the UEB Prof. Sa Valle - involving documentation of rehearsals and registration of images, among others, and a dialogue with the literature, the focus turns narrative to attempt to contribute to the knowledge on the formation of theater teachers, giving emphasis on artistic production and research on creative behavior.
A presente pesquisa narrativa, de natureza autobiográfica, aborda os processos formativos de uma professora/artista/pesquisadora de teatro e sua iniciação ao exercício da docência. Descreve os passos percorridos e as experiências acumuladas ao longo da trajetória de vida, desde a educação básica à formação profissional, dando ênfase à prática docente em uma escola pública de educação fundamental, em São Luís (MA). O trabalho de retomada da memória propiciou a construção de um olhar retrospectivo sobre o repensar da formação, prática artística e docência, suscitando reflexões acerca de ocorrências, circunstâncias e subjetividades que antecederam e ao mesmo tempo demarcaram um processo investigativo desenvolvido durante o mestrado profissional em Ensino de Artes. A partir da observação participante de um grupo do teatro escolar – Por trás do pano, da UEB Prof. Sá Valle – que envolveu a documentação de ensaios e o registro de imagens, entre outros, além do diálogo com a literatura especializada, o foco da narrativa volta-se para a tentativa de contribuir com o conhecimento referente à formação de professores de teatro, dando ênfase a produção artística e pesquisa sobre as condutas criativas.
Smith, Joephine F. "The training, early professional career and publications of the Sheffield artist and art educator Elizabeth Styring Nutt (1870-1946)". Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5857.
Pełny tekst źródłaGilberg, Asbjørn L. "Contextual and Personal Factors Contributing to the Mental Health of Norwegian Professional Musicians". Thesis, Norges teknisk-naturvitenskapelige universitet, Psykologisk institutt, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26641.
Pełny tekst źródłaWatson, Katharina Joyce. "You Can't Teach What You Don't Know and You Can't Lead Where You Won't Go: Professional Development as Artists for Elementary Educators". BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6734.
Pełny tekst źródłaOLIVEIRA, Eleny Macedo de. "Docência Universitária em Arte:(auto)retratos da identidade do docente-artista". Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/1986.
Pełny tekst źródłaThis study, inserted into the Research Line Training and Teacher Professional Process, aimed to identify and analyze aspects of professional identity of teacher - artist who works in higher education. Thus, it was necessary to understand the reasons that lead this professional to join the university teaching, besides knowing about the aspects that constitute the identity of the teacher - artist who exercises teaching at the university. The concept of teacher - artist constructed in dialogue with references as Célia Maria de Castro Almeida (1992) and Késia Mendes Barbosa (2006) serves to clarify the concept of professional identity and inclusion of teacher - artist in the formation of Higher Education. Along with this concept, the narrative of the first institutions of higher education in Brazil is delineated, in order to elucidate how the genesis of the university teacher training throughout history happened, especially the teacher - artist. These informations are the base for understanding the evolution of the professional training and the identity of the teacher - artist of Higher Education in dialogue with Carmen Lucia Abadie Biasoli (1999), Luiz Antonio Cunha (2003) e Ana Mae Barbosa (2005). Thus, the analysis turns to the concept of teacher identity focusing these authors who propose analysis and discussions on the topic. The highlights of this concept are: Valter Soares Guimarães (2004), Tomaz Tadeu da Silva (2009), and Luzia Alves de Carvalho (2009). Analyses on the professional identity takes consistency, followed by reflections of Léa das Graças Anastasiou (2001, 2006), Pimenta (2002), Miguel A. Zabalza (2004) and Valter Soares Guimarães (2004). The field research achieved in the GT of Education and Art of the National Association for Research and Post-Graduation Education - ANPEd - and at School of Arts, in the Visual Arts Faculty - FAV-and at School of Music and Performing Arts - EMAC- of UFG had as instrument for data collection a questionnaire. The findings resulting from analysis of field research and the possible contributions to the understanding of the aspects that constitute the professional identity of teacher - artist of Higher Education form the outcome of this investigation by presenting two main lines of dominance in teaching in Art with visions distinct, but with common purposes: the teaching of art.
O presente estudo, compreendido na Linha de Pesquisa Formação e Profissionalização Docente, buscou identificar e analisar a identidade profissional do docente-artista que atua na Educação Superior. O docente-artista é conceituado à luz das teóricas Almeida (1992) e Barbosa (2006), como aquele que atua com as diferentes linguagens artísticas no Ensino Superior, com produção artística ou não. De posse desse conceito recorre-se à trajetória das primeiras instituições de Ensino Superior no Brasil, com o intuito de elucidar como aconteceu a gênese da formação do docente universitário ao longo da história, em especial do docenteartista. Essas informações servem de alicerce para conhecer a evolução da formação profissional e da identidade do docente-artista da Educação Superior em interlocução com Cunha (2003) e Ana Mae Barbosa (2005). As análises sobre a identidade profissional tomam consistência, acompanhadas das reflexões de Pimenta (2002) e Zabalza (2004). A pesquisa de campo realizada junto a docentes-artistas teve como instrumento para coleta de dados o questionário. As conclusões advindas das análises da pesquisa de campo e as possíveis contribuições para a compreensão dos aspectos que constituem a identidade profissional do docente-artista da Educação Superior formam o desfecho desta investigação, com a apresentação de duas grandes linhas identitárias. A primeira linha é composta por docentesartistas com características mais voltadas para a identidade de educador. A segunda linha apresenta contornos em que se acentua a identidade de artista em detrimento da visão de educador. São identidades distintas para a docência em Arte, com propósitos comuns aos que atuam nos cursos de formação de professores.
Duffield, Laura. "An investigation of how artist/student interaction can be structured to maximise learning in the drama classroom". Thesis, Queensland University of Technology, 1997.
Znajdź pełny tekst źródłaCarr, Tiffany Ann. "Addressing the non-artist's approach to art: a study of pre-service teachers in an art methods course". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1834.
Pełny tekst źródłaLiot, Françoise. "Les carrières artistiques en Aquitaine : les transformations de la profession d'artistes face aux politiques de soutien à la création". Bordeaux 2, 1997. http://www.theses.fr/1997BOR21014.
Pełny tekst źródłaThis work analyses the position of plastic art professionals in Aquitaine. The regional artistic sphere has evolved since 1982. Decentralization and policies in support of creativeness have contributed in changing the arts profession. The first section introduces us to the population of the 100 artists from Aquitaine who were the subject of the survey. It investigates their position, particularly in terms of education and working conditions. The second section describes the regional background of art. It is subdivided into three networks. The latter are professional domains within which an artistic activity is practiced. They combine public or private structures which aid in distributing, in marketing the work of art and in winning recognition for it. Each of them is supporting an artistic concept, the regional networks are competing with one another on these grounds. A struggle for determining artistic value is observed. The third section analyses the careers of artists faced with the creation of a controlled market. New skills become essential to plastic art professionals. Partners of the artist are on the increase and subject to diversification, the artist-gallery relationship drifting apart for the benefit of institutional partners. The latter imply new methods of coverage by the media whereby more emphasis is given to what the artist has to say on his work and to the relational aspects of the artistic career. L'école des beaux-arts (art school), under the influence of new elements of reform which took place from 1988 onwards, becomes a privileged instrument for turning out professional artists. It enables them to be integrated into a controlled market through the learning of new skills
Burioni, Matteo. "Die Renaissance der Architekten Profession und Souveränität des Baukünstlers in Giorgi Vasaris Viten". Berlin Gebr. Mann, 2005. http://d-nb.info/984439064/04.
Pełny tekst źródłaŠvitinytė, Jolita. "Meninės vizualinės raiškos reikšmė, rengiant būsimus kirpėjus". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_180638-40837.
Pełny tekst źródłaKnowledge in art becomes more and more relevant in the training of future hairdressers. Unfortunately, there are very few theoretical points of reference available in designing curricula programmes for this profession and looking for the methods of organising creative work. It is very important to train not only educated people, but also creative ones, able to discuss and doubt, think critically and broad-mindedly, adapt to ongoing changes, impact by new ideas or works, and to enrich mental and material world of other people. The thesis for the master’s degree analyses the peculiarities, objectives, development and typology of artistic and visual expressions. The purpose of the thesis is to unfold the meaning of visual and artistic expression in the training of future hairdressers. The research object is artistic and visual expression of students of hairstyle design. The research hypothesis: knowledge of fundamental principles of composition-making, measures of artistic and visual expression and combinations thereof as well as principles of creative application contribute to better visual expression of future hairdressers. The tasks of the research encompass analysis of psychological and pedagogic literature related to the analysed issues; analysis of the peculiarities of artistic and visual expression in art subjects; finding out the attitude of the students of hairstyle design towards artistic-visual expression during art classes; analysis of works of art students... [to full text]
Setzu, Francesca. "Les intermédiaires français de l'art contemporain et les artistes turcs. Regards croisés dans la Méditerrannée". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080054.
Pełny tekst źródłaAdopting an analytical perspective on the intersection between sociology of art and sociology of professions, our research examines the participation of a group of French contemporary art gatekeepers in building the career of Turkish artists. In particular we studied the experiences and working practices of three categories of contemporary art gatekeepers: museum directors / curators, directors of galleries and artistic director in the nonprofit sector. Focusing our attention to both the structure of the artistic field where these actors operate, and their professional practices, our goal was to emphasize the importance of the role of French gatekeepers in the process of consecration Turkish artists internationally. In the first part of our research we analyze the historical background of the relationship between the French artistic intermediaries and Turkish artists. In the second part, and heart of our research, we present the results of our empirical study on the professional activities of a French group of gatekeepers operating in the field of contemporary art. They have been or are involved in the promotion and dissemination of works of Turkish artists operating in the field of visual art. Indeed, through a field survey, we show the diversity and contradictions of working practices of thirty-two French contemporary art gatekeepers around a topic: the artistic exchanges between France et Turkey in the globalization era